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Hello! From Wonder Media Network, I'm Jenny Kaplan, and this is Womanica.
This month we're talking about women of science fiction.
These women inspire us to imagine impossible worlds, alien creatures, and fantastical inventions, revealing our deepest fears and hopes for the future.
Remember the feeling you'd get when you'd run downstairs on a Saturday morning, bumble for the remote, and turn on your favorite cartoon?
Even today, you can probably still hear that theme song, if you close your eyes and think
back.
Today we're talking about the woman who brought one of those famous tunes to life.
Let's talk about Shirley Walker.
Shirley was born in Napa, California on April 10, 1945.
From a young age, she was an accomplished musician.
She played piano with the San Francisco Symphony, while she was still a teenager.
But Shirley always knew she wanted to do more than play.
Before long, she was conducting and composing music.
She learned early on the importance of each of these different roles in creating music,
and she appreciated each and everyone's contributions.
In the 1960s and 70s, Shirley broke into the film and TV industry.
She wrote a few jingles and composed music for some lesser-known films.
Then, in 1979, she was hired by Carmine Coppola to play an unconventional instrument, the synthesizer, for the eclectic, brooding, equally unconventional movie, Apocalypse Now.
Coppola was so impressed with her work that he asked Shirley to come along to another movie he was working on.
The soundtrack needed help.
The whole movie needed help, actually.
Post-production was a mess.
The team wasn't getting along. The film wasn't quite up to snuff.
If Shirley could help the score get to where it needed to be, she'd be working a miracle.
And Shirley did just that.
The resulting feature, the Black Stallion, wasn't groundbreaking.
But its soundtrack certainly couldn't be faulted.
Shirley had navigated a high-stakes situation with creativity, sensitivity, and incredible endurance, a hallmark of her career.
Over the next two decades, Shirley got a slew of Hollywood films under her belt. She orchestrated and conducted Danny Elfman's score in two Tim Burton movies, 1989's Batman and 1990's Edward Scissorhands.
She did the same with Hans Zimmer in Days of Thunder, A League of Their Own, and Backdraft.
These scores were defined, often larger than life and clear-cut in their aesthetics and instrumentation.
Shirley used the theatrics inherent in these composers' scores to pull the best performances from the orchestra, making sure the soundtracks shone as brightly as their creators had imagined.
Shirley was exacting yet encouraging, kind yet relentless.
She mentored many composers, including Elfman and Zimmer, and always gave credit where credit was due.
As Jean McCurdy, a future collaborator at Warner Bros. Animation, would later say about Shirley, one was constantly surprised by the drama and the touch of insanity this woman,
who appeared as a Sunday-school marm, could deliver.
In 1990, Shirley worked with Danny Elfman on another project, the first season of a live-action TV series of The Flash.
Bruce Timm, an animator for DC Comics cartoons, knew he had to get Shirley on board for his next project. I am vengeance.
I am the night. I am Batman. Batman, the animated series.
It was a darker cartoon meant to dive deeper into some of DC's most beloved characters.
It was also going to be produced by Warner Bros., a studio that distinguished its cartoons with high-quality animation and, notably, original scores recorded with real orchestras, even for its 30-minute kids shows.
Shirley saw the show's art direction and was smitten. She reworked some of her music with Danny Elfman from past collaborations, but much of the show's most iconic music was entirely her own.
The series flawlessly integrates each character's visual appearance with their Sonic one.
Battles, showdowns, and moments of tenderness all occur in each episode's soundtrack.
She composed a jolting, precariously fun theme for the Joker, a slinky and swift tune for Catwoman, a haunting waltz for Mr. Freeze, and most famously of all, a broodingly heroic
theme for the series' noir-inspired opening credits.
Shirley reprised her role for the 1993 movie Batman, Mask of the Phantasm, based on the animated series.
She rejoined the DC animated universe three years later to work on Superman, the animated series.
When she wasn't at the helm of a specific animated project, she worked as a supervising
composer across the department's shows, mentoring new composers and directors. She taught them how to tell stories of heroes and villains through music.
Shirley eventually won two Daytime Emmy Awards for her work on DC animated series.
She also held the record for composing more original scores for major studio feature films than any other American woman.
Shirley worked up until her death in 2006 from a stroke. She was 61 years old.
Despite all of her contributions, Shirley isn't a well-known name outside of her industry.
She was a woman in a highly male-dominated field, yet many of the film composers celebrated today learned their craft under Shirley's guidance.
In 2014, the American Society of Composers, Authors, and Publishers created the Shirley Walker Award to commemorate her life and legacy.
All month, we're talking about women in science fiction. For more information, find us on Facebook and Instagram at Womanica Podcast. Special thanks to Liz Kaplan, my favorite sister and co-creator. Talk to you tomorrow!
